I'm a lazy artist.Always have been. But then I'm very hands on and into plasticity in a big way. That's why I'm primarily a sculptor.
My background skills are in bashing puppets and masks into shape.
I'm not into detail. I thump stuff into shape. I appreciate resistance.
So I appreciate tactile engagement in all of the three dimensions rather the two offered by a page or a canvas.
But since I'm now creating comics....I have a problem.
I employ montage and collage -- and with these I am skilling up. But it's clear that I often need a bridge between the digital paste-ings I select to lay down.
Terry Gilliam discusses this option in his take on how he did his stop animations for Monty Python.
So while I recognized that as a comic maker -- albeit a webcomic maker -- at some stage I'd need to start drawing, I could not work out how I'd do that.
I suspect I now know why but I didn't want to rush into the how.
But then in my puppetry and mask past my colouring and defining tool was crayons. These I'd melt onto the item using heat as is done with encaustic.
I never used paint.
I love working with colour like that despite the unfortunate penchant I had to burn my fingers. Some of the effects I generated on mask surface were wonderful to behold.
Alive. A handy feature for a face mask or a puppet.
Alive. A handy feature for a face mask or a puppet.
And with watered crayons you don't have to burn your fingers in search of 'effect'.
